iZotope 10-MPS overview

1Description

Available for download, the iZotope Music Production Suite delivers six plug-ins for mixing, mastering, and vocal production for beginners and professionals. Neutron 2 Advanced provides intelligent tools for fixing and improving elements in a mix. Nectar 2 helps fix vocal issues. If you're looking to create vocal effects, VocalSynth helps you achieve astounding, alien, or classic vocal effects. Ozone 8 Advanced improves upon Ozone 7 by adding a new module and the Master Assistant tool, which creates custom presets for your specific master and your intended delivery format. RX 6 Standard provides many modules for mitigating noise issues in recordings and is available in a standalone environment. This software operates in AAX, AU, VST, and RTAS formats, and is compatible with Mac and Windows platforms.

Designed by iZotope to give you a plethora of options in processing and resynthesizing your voice, VocalSynth is a software download for both Windows and Mac operating systems. It's intended for use with major digital audio workstations (DAWs). An instance of this plug-in provides access to four separate vocal engines (Vocoder, Talkbox, Polyvox, & Compuvox), each of which aids in creating synthetic vocal effects of the sort endemic in many pop productions; whether you're going for a Talkbox sound reminiscent of Daft Punk, a Vocoder timbre conjuring the Beastie Boys, or an entirely new sound of your own creation, VocalSynth provides the powerful engine of an iZotope plug-in with intuitive controls.

In addition to its synthesis capabilities, VocalSynth provides other tools useful to the mixing vocals, such as a dedicated pitch corrector, which allows you to tune your voice to varying degrees. Also, a dedicated effects section complements the module chain, giving you distortion, filtering, speaker emulation, beat repeat (shred), and delay.

Input Flexibility

No MIDI? No problem: you can sidechain any vocal—or indeed, any instrument—as a foundation for VocalSynth's effects. Should you happen to have access to a MIDI controller (or wish to draw in the notes yourself), feel free to use VocalSynth's on-board wavetable synthesizers.

Auto or MIDI Voice Generation

You can use Auto mode to choose which intervals you'd like to use (unison, octave, third, fifth, etc.), or plug in a MIDI controller to voice the exact harmonies you'd like to hear.

Four Dedicated Modules

VocalSynth provides separate engines for Vocoder, Talkbox, Polyvox, and Compuvox timbres. Use any of these to emulate the tones of classic records or to achieve something truly new.

Pitch Corrector

Correct off-key notes within your vocal takes in real-time, preserving the timbre and formants of your voice for a more natural result—though of course, as with any pitch corrector, you can throw caution to the wind and generate truly bizarre results.

Effects

Shape the character of the processed vocal even more with this dedicated effects section, which provides distortion, filtering, beat-repeating via shred, stereo delays, and speaker convolution modeling.

Presets

As with other iZotope bundles, VocalSynth comes stocked with many presets evoking classic production techniques for you to try at a moment's notice. You can create, modify, and store your own as well.

Ozone 8 Advanced - Mastering Software (Full Version, Download)

Available for download, iZotope Ozone 8 Advanced is software designed for mastering music, providing many modules for the task. The software builds upon the offerings of previous iterations with visual improvements, tweaks to algorithms under the hood, a handy Master Assistant control, and much more. Aside from workflow improvements, the creative elements of mastering continue to be pushed front and center in this version, allowing you to create masters of your music in an intuitive, user-friendly manner.

Take the new Master Assistant, for instance. After you select this task, a window will pop up asking you “what are you going for?” From here, you’re offered a choice of targets: Streaming, for online platforms as such as Spotify and iTunes Radio, CD for louder masters optimized for the compact disc, and References, which allows you to target a specific example of your own selection and match it for tonal consistency and level. Next, a window asks you for your desired intensity, with each choice dictating a different framework for compression, EQ, and ultimate loudness. After the algorithm listens to a portion of your song (iZotope playing the loudness portion of your song), intelligent settings for equalization, compression, loudness, and dynamic EQ are dialed in. These aren’t cookie-cutter, one-size-fits-all presets—instead, you’ll notice subtler implementations, such as EQ shelves applied only when needed, or dynamic equalization to reduce artifacts in the limiting stage; if the algorithm decides your mix doesn’t need compression to achieve your desired target, none will be applied.

Another useful tool is the Reference Section, which allows you to import up to ten reference tracks and compare your master against them equally, giving you the ability to create markers within the reference to use as looping points. A gain slider lets you lever match your master with the reference track right inside the plug-in. Such features render many third-party referencing plug-ins gratuitous or redundant, as they are incorporated within Ozone 8 itself. They are also useful for creating cohesive albums, as you can master one track to taste, and then use that track as a master for level and frequency comparison.

A new module has been introduced into the Ozone ecosystem. Called Spectral Shaper, this module is designed to tame, smoothen, and otherwise sculpt particularly harsh bands of a mix. This module is useful for taming harsh hi-hats in a mix, de-essing a sibilant vocal within the context of a stereo track, smooth out the attack of an acoustic guitar in a folk tune, and more. The module utilizes three sliders to control tone, attack, and release, as well as a threshold control, a frequency-band selector, intensity selectors, the ability to solo the frequency band in question, and to listen/home in on the spectral shaping effect apart from the mix.

Included with Ozone 8 Advanced is a Tonal Balance Control plug-in that provides an intuitive and adjustable frequency analysis over your whole master. It's designed to help you balance the frequencies of your track, ensuring it's commensurate with tonal profiles of modern, vintage, or orchestral music. You can also upload your own reference tracks into Tonal Balance Control and aim to match those. On the low end, a crest factor meter is provided to make sure you don't over-compress the bass frequencies. Within the plug-in, you can call up and tweak equalizers in any instance of Ozone 8 or Neutron 2 across your mix. This gives you a new level of control and inter-connectivity across the iZotope ecosystem.

Changes have been made to Ozone’s popular IRC IV algorithm in the maximizer module to promote low-latency implementation, as well as to improve the low-end response to the limiter, which results in a smoother limiting with fewer artifacts. Also within the maximizer is a stereo independence section with separate sliders for transients and sustain, so you can tweak how the maximizer reacts to stereo information in a more precise manner. All of the vintage modules from Ozone 7 are included, with improvements made to the compressor under the hood.

Usable both as a standalone application and as a plug-in with a supported host, this software is compatible with Windows and Mac platforms. It can operate in AAX, RTAS, VST 3, VST 3, and AudioUnit formats.

Available for download, iZotope Neutron 2 is a channel-strip plug-in designed for mixing music and audio-post production. Like its predecessor, Neutron 2 provides a compressor, equalizer, exciter, transient shaper, and a limiter, as well as the frequency-masking meter and the track-assistant feature. Many of these features have been improved upon, and several new elements have been introduced to make your mixing session a more intuitive and gratifying enterprise.

Take the new Visual Mixer, for instance. This separate module included with the plug-in gives you a visual picture of your mix; any element you process with Neutron 2 can be manipulated across this visual plane, which gives you a graphical indicator not unlike an XY matrix. Move a track from the left to the right, and you are essentially panning that track from the left to the right. Move the track up and down and dictate its overall level within the visual framework. Each element represented in this pictorial overlay is encapsulated in a sort of bubble; grab the handles of this bubble and pull it outwards or inwards to manipulate its overall stereo width. This tool is meant to benefit Neutron as an ecosystem, promoting integration between tracks boasting Neutron, and allowing you to position them without navigating through windows, fader banks, and other potential hindrances.

In addition to the UI improvements, which include a more intuitive layout—making features like the masking meter easier to use—Neutron 2 has also improved many of the machine-learning algorithms which made the original Neutron handy in the first place; the track assistant, for instance, now allows you to set ratios, thresholds, and time constants for the dynamic processes. The functionality of the exciter has been expanded as well. Now you can set the drive and blend of the harmonic distortion when it analyzes your track.

Track Assistant also gives you a range of potential options for its custom-created presets. When you first turn it on, a menu asks you what style options you'd like (balanced, warm, and upfront) as well as intensity choices (low, medium, and high). You can tell the algorithm what the instrument is or choose auto-detect. If you choose auto-detect, a new detection mode is implemented to identify the instrument (pianos, for example). Instrument and dialogue detection have also been improved. When Track Assistant is finished processing, it gives you the ability to accept or reject the custom-created channel setting.

Another new module is a multiband noise gate with hysteresis. It has musical controls for eliminating unwanted, extraneous signals in a natural manner. You’ll find a soft-saturation option attached to the equalizer, two different multiband compressors, the exciter and transient shaper, and a low-latency true-peak limiter.

Utility options abound that improve the work-flow. All multiband processors can be switched into single-band, and controls below the I/O section allow you to monitor in mono, flip the polarity to affect stereo panning, increase the width on both the left and right channels, and swap left/right channels as desired. Below the utility controls, you’ll find the Neutrino section, which helps you maintain the clarity, focus, and separation of individual tracks across your mix by means of three controls. This software is compatible with Windows and Mac platforms. It can operate in AAX, RTAS, VST 3, VST 3, and AU formats.

Note: This item is for registered users of Neutron Standard or Neutron Advanced who wish to upgrade to Neutron 2.

Adjust both the lead track and masking track's EQ settings from within the same plug-in

Piano-roll overlay

Compressor

Modern or vintage compression modes (i.e., clean or colorful)

Single or multiband modes

Threshold and crossover frequency auto-learn

Peak, RMS, or transparent true-envelope detection

Program dependent auto-release

Internal or external side-chain per band

Analog (zero-latency) or hybrid (transparent) crossovers

Transient Shaper

3 Global Modes (Precise, Balanced, Loose)

3 Contour Shapes (Sharp, Medium, and Smooth)

Single or multiband

Crossover frequency auto-learn

Analog (zero-latency) or hybrid (transparent) crossovers

Exciter

3 global modes to fine-tune saturation color (Full, Defined, Clean)

4 saturation types (Tube, Warm, Tape, & Retro), blendable at will

Single or multiband

Crossover frequency auto-learn

Analog (zero-latency) or hybrid (transparent) crossovers

Improved I/O Section

Input/output metering

Stereo width and panning controls

Sum-to-mono button

Swap channels button

Phase invert button

Delay offset

Intuitive limiter with three styles and ceiling control

Audio-Post Workflow Enhancements

True-peak limiter suitable for BS.1770-4 compliance

Trash 2 - Distortion Software (Download)

The iZotope Trash 2 Distortion Software is primed for an era of audio mangling, distortion, and experimentation. It features sonic architecture, optimized performance, better sound quality, and support for modern hosts and formats. Trash 2 combines the power of multiband, dual-stage distortions, and advanced post-filtering for immediate sonic transformation. Trash any track and not just guitars and basses, but drums, synths, pads, vocals, brass, woodwinds etc. Two expansion packs are included, further expanding the sonic possibilities of the software.

Design your own distortion algorithms with Trash 2's customizable Waveshaper; simply draw in, tweak, and create infinite distortions. Load one of Trash 2's 60+ distortion algorithms and adjust at will. The power to morph sound from one object to another is available with the Convolve module. Convolve includes over 100 impulse responses (IR): a collection of amps, objects, animal sounds, and mouth shapes for transforming your sound. Moreover, you can concoct a unique convolution and load any WAV or AIFF file into Trash 2.

Explore the sonic dimensions with the Filter, Delay, and Dynamics modules. Breathe life and movement into your audio using the dual filters, each with 20+ evocative filter types to shape your tone. Modulate, invigorate, and apply exotic filter sounds, and then control and manipulate each node with LFOs, envelopes, and side-chaining. With a filter bank, you are free to custom design your filter styles. Polish it all off with Trash 2's organic Delay options and the analog-modeled compressor.

The heart of Trash 2 is its dual-stage multiband waveshaping distortion, which allows you to chain pairs of distortions together for sonic manipulation. Split the signal into multiple bands and apply distortion independently to individual frequencies, each with their own custom waveshapes. Use the new Waveform Trace to see exactly how you're mangling your waveforms in real time, and DC offset filtering to keep them centered and on track.

Two redesigned filter modules to drive the frequencies you want into distortion or tame the ones you don't want. Shape the tone and customize it with re-engineered Filter shapes and Vowel Filters. Additionally, the software features realistic amp, device, cabinet, effect, and speaker convolution modeling, freeing you to place your audio into another space (or object) entirely. Choose from classics, combos, boutique models, and stacks, or play with creative synthetic impulses from a number of different sources including telephones, clock radios, sheet metal, plexiglass tubes, piano cabinets, tin cans, and more. With the Convolve module, you can teleport your sound wherever you please by loading in your own audio files.

Trash 2 includes a multiband Compressor and Noise Gate to squash the peaks, add grit and character, silence the noise, or draw out sustain. With the addition of sidechaining support, multiband processing, and an updated compression algorithm, the Dynamics module is a powerful tool. Go a step further by using a classic lo-fi Delay. Choose from delays that include tape delay with saturation and nonlinear tape machine artifacts, tape-tube delay with added tube saturation modeling, classic analog delay with analog degradation, and lo-fi digital delay with quantization noise and aliasing.

Multiband Trash Module

Apply different distortion types to up to 4 frequency bands.

Chain 2 distortion algorithms for each frequency band for up to 8 different flavors of destruction.

Choose from over 60 different distortion algorithms.

Design and edit your own distortions using the new graphic-based Waveshaper.

Filter each stage with the included Post Filter.

Further refine your distortions with the DC Offset Filter and Logarithmic Distortion modes.

Filter Modules

Experiment with 20+ sweepable filters for tons of tonal options that range from clean and warm to fat and juicy to harsh and clipping.

Get twice the filter action with brand new Filter 1 and Filter 2 modules.

Add LFO and envelope modulation per node to get wahs, wubs, tremolos, and other sweeping effects.

Available for download, RX 6 Standard from iZotope is the latest update to their audio repair software, which is considered a staple for recording, mastering, and audio-for-video post-processing. The software can operate either as a standalone application or as a plug-in for both Mac and Windows based DAWs and NLEs. From fixing common audio problems like noises, distortions, and inconsistent recordings to repairing severely damaged audio using Spectral Repair, the RX can transform previously unusable audio into something usable.

The standard edition of RX 6 incorporates many of the advanced features of RX 5, adding some extra processes for good measure. EQ Match, Ambience Match, and De-plosive are all provided, while operations previously buried in the utilities have been given their own modules. Voice De-noise is now its own dedicated module with separated optimization modes for dialogue and music. A new Mouth De-click module has been tailored to zoom in on—and promptly eradicate—those pesky mouth sounds found in dialogue recordings.

Also new to the RX workflow is the ability to edit up to 16 tracks at one time. This makes the process of editing one flaw out of a multi-miked, live-classical recording much easier to accomplish. A De-bleed module is included, allowing you to reduce the leakage of errant audio; you can use this to eliminate headphone bleed, small amounts of cross-bleed between mics and click tracks. Other new features include the ability to export MP3s and module list filters.

The Process Tool works as it did in earlier versions of RX, allowing you to paint away audio problems on the spectrogram in one of several modes (Attenuate, De-click, Fade, Gain, and Replace), as does the Module Chain, which reduces the number of mouse clicks required for using a series of processes. Corrective EQ, De-clip, and some other classic processes have been ported over and improved upon.

More of these tools are now accessible as a plug-in; however, some processes are still only available in the standalone version. RX Connect has been provided to use offline processes in conjunction with your DAW or NLE. This facilitates seamless transfers and keeps productivity flowing. Additional features include high-quality re-sampling and dithering, rebuilding distorted audio, and batch processing. A detailed spectrum analyzer detects peaks automatically, and a suite of automatic, intelligent modules reduce manual tasks in the audio production workflow. RX 6 Audio Editor can be used as a standalone audio editor (including standalone but connected to your host via RX Connect), or it can be used as a suite of plug-ins.

Note:This download is eligible for a FREE upgrade to RX 7.

New Modules and Features

Composite View

Composite View allows you to edit and apply processing to 16 individual audio tracks as if they were one, easily addressing audio issues that appear across multiple microphones. The Composite View feature in the RX Audio Editor combines all active tabs into the Composite tab that allows you to apply the same processing to multiple files simultaneously. Composite View can be used to increase expediency when performing repetitive spectral editing functions. This makes it particularly useful when making repairs in recording situations with multiple microphones or repairs to multichannel files.

De-bleed

Working across multiple tracks, the De-bleed module reduces the leakage of one signal into another. De-bleed can help reduce or eliminate bleed from headphones, click tracks, multiple mics with small amounts of cross bleed, and even some drum bleed issues.

De-ess

The De-ess plug-in and module attenuates or reduces sibilance (the harsh high-frequency sounds that come from S, F, X, SH, and soft C sounds). Two modes for handling sibilance are provided. Classic Mode detects sibilants and attenuates them with a broadband gain envelope. Spectral Mode is more transparent, intelligent, and frequency-specific and only attenuates the high frequencies where sibilance is most active, leaving the lower frequencies untouched.

Mouth De-click

The Mouth De-click module has been finely tuned to detect and reduce mouth noises such as clicks and lip smacks—many a listener's worst nightmare. It's designed for use on longer audio selections, but it can be used to remove individual clicks.

Breath Control

The Breath Control module intelligently detects breaths in dialogue or vocal recordings and suppresses them. Removing and reducing breaths in recordings can be a time-consuming process for dialogue editors and music producers. Breath Control can help reduce the time spent on repetitive editing without sacrificing audio quality.

The Module List in iZotope RX has been redesigned to group features under the following categories: Repair, Utility, and Measurement. The Module List now features the ability to save custom views as presets so you can quickly access the modules that you use the most.

Separated Voice De-Noiser

Improving on the earlier Dialogue De-noise tab in the overall De-noise module, the newly separated zero-latency Voice De-noise has been designed to focus on dialogue and sung vocal treatment. Voice De-noise has an Adaptive mode that can adjust to a changing noise floor in real time, making it ideal for dialogue denoising. Also added are optimization modes for dialogue and music. When optimized for music, Voice De-noise excels at attenuating unwanted background noise from like air conditioners and street noise from sung vocals in apartment recording situations.

General Features

Improvements over Previous Versions

Improvements made to De-click, Deconstruct, De-plosive, and Ambience Match Modules.

Improvements made to Center Extract and Find Similar processes

Key Features at a Glance

De-plosive eliminates every plosive from any dialogue track with transparency

Seamlessly integrates with audio or video editing software, both as a standalone application or plug-in

EQ Match allows for quickly learning the EQ of a source audio clip and applying that EQ curve to a target audio clip, enabling sonic balance and smooth transitions between multiple audio sources with different EQ qualities

Ambience Match for matching the environment noise of two different audio recordings

Learn the ambient noise from a source audio clip and apply it to another audio clip, and create long sections of constant ambient noise to insert under inconsistent dialogue recordings

Loudness module processes whole program mixes or segments to comply with international industry standards, ensuring mixes never fail network specifications